Matthew Dwyer

Matthew Dwyer’s filmography is a fun little carousel of genres, honestly. You’ve got “Slingshot” (2024) hanging out on the sci-fi side—the kind of movie where you think you know what’s going on, but then it throws you for a loop. It’s about astronauts on a deep-space trip, and everything feels just slightly off-kilter. Isolation, paranoia, and some real existential dread come crawling in. Not just a rocket ride, it’s more like a slow-burn unraveling of the human mind out there in the void. Dwyer’s performance? Kinda magnetic, a little raw, definitely unpolished in a good way. Flip over to “Private Property” (2022) and you’re smack in the middle of a psychological thriller. There’s this constant tension, like someone’s holding their breath for two hours straight. Obsession, blurred boundaries, that creeping sense of danger in suburbia—Dwyer moves through it with a mix of charm and menace, so you’re never really sure if you trust him or want to run in the opposite direction. The movie just oozes unease. And then “Poolman” (2023) rolls around, and it’s just a whole different vibe. It’s quirky, maybe a little offbeat—think sun-soaked LA, oddball characters, a bit of noir flavor but not taking itself too seriously. Dwyer manages to be both funny and weirdly sincere, like he’s in on the joke but also totally committed. There’s just something about the way he slides between these roles—sci-fi isolation, thriller intensity, and off-kilter comedy—that makes you want to see what he’ll do next.